New Colours Vol.2

SKU: HL.48182068

UPC: 888680850975. 9.0x12.0x0.27 inches.

“The Bird Catalogue by Olivier Messiaenis a set of 7 books with 13 pieces for Piano composed between 1956 and 1958. Each volume refers to a special bird and to the French region where the bird is typically from. The piece does not only describe the bird, it also depicts its surroundings, such as other birds, the landscape of its area, the colours and the temperature. Book 1 - Le Chocard des Alpes (Alpine Chough) - Le Loriot (Golden Oriole) IH Le Merle Bleu (Blue Rock Thrush) Book 2 - Le Traquet Stapazin (Black-Eared Wheatear) Book 3 - La Chouette Hulotte (Tawny Owl) - L'Alouette Lulu (Wood Lark) Book 4 - La Rousserolle Effarvatte (Reed Warbler) Book 5 - L'Alouette Calandrelle (Short-Toed Lark) - La Bouscarle (Cetti's Warbler) Book 6 - Le Merle de Roche (Rock Thrush) Book 7 - La Buse Variable (Buzzard) - Le Traquet Rieur (Black Wheatear) - Le Courlis Cendré (Curlew) As mentioned above, this 7th Volume focuses on the buzzard, the black wheatear and the curlew. The first one, the Buzzard represents ?La matheysine? in the Dauphiny area, the Black Wheatear, the area of Roussillion and the Curlew, the west coast of Brittany. The interpretation of these pieces requires a strong level of ability on Piano (upper advanced), due to some complex techniques required. Olivier Messiaen (1908-1992) was a French organist and composer passionate about Ornithology and one of the most important composers of his century. Inspired by Japanese music, he had a very special way of composing and his work can be identified by its complexity, its diatonic aspect, its harmony with limited transposition, its colour and its additive rhythms. He composed many works related to ornithology and birdsong, including the 'Treatise on rhythm, colour and ornithology' in 7 volumes.”.

SKU: M7.ART-42034

ISBN 9783866420342.

Mich ael Gundlach hat es mit den hier vorliegenden Stücken geschafft, wunderschöne klassische Melodien in geschmackvolle und vor allem gut spielbare Arrangements zu verwandeln. Tradition und Moderne treffen sich in zeitgemäßen Bearbeitungen und zeigen dem Liebhaber klassischer Musik die beinahe unerschöpflichen Möglichkeiten der Interpretation. Neben weltbekannten Kompositionen finden sich zudem einige unbekannte Werke, die zu Recht als Perlen klassischer Musik bezeichnet werden können. Wir wünschen Ihnen viel Freude beim Genießen der musikalischen Farbenvielfalt dieser 'Classic Piano Colours'!

SKU: HL.49007510

ISBN 9783795750664. 9.0x12.0x0.171 inches. German. Christa Estenfeld-Kropp.

Th is successful tutorial book for descant [soprano] recorder is now available in a revised new edition. The German text has been revised in the light of recent spelling reforms and the layout in four colours is now even clearer. For many of the songs harmonic symbols have been added to facilitate accompaniment on the guitar or piano. The first volume places emphasis on correct and musical breathing and tonguing technique. Plenty of space is given to ideas for little improvisations and a selection of well-known songs and pieces encourage motivation and enjoyment as children learn. This child-friendly, practically tested introduction to the recorder is suitable for children from the age of about 5.

SKU: BT.DHP-1104865-140

9x12 inches. English-German-French-Dut ch.

Gazing into life is like gazing at the colours of passing time. Sometimes cool and mysterious, sometimes opalescent, warm or luminous, the colours of time, like life itself, are ever-changing. When colour materialises, it becomes music. With delicate and powerful moods, brilliant and intimate textures, and joyful and nostalgic sounds, music seeps into our memory like stories drawn from many individual real-life experiences.

Het leven beschouwen is alsof je naar de kleuren van de verglijdende tijd kijkt. Die zijn soms koel en mysterieus, soms ondoorzichtig als opaal, soms warm of licht: de kleuren van de tijd zijn altijd in beweging, net als het leven. Kleuren kun je ook weergeven in muziek. Met delicate of krachtige sfeerbeelden, glansrijke of intieme texturen, en vreugdevolle of nostalgische klanken glipt muziek ons geheugen binnen als verhalen die zijn gebaseerd op ervaringen uit het echte leven.

In diesem Werk portraitiert Thierry Deleruyelle das Leben und die Zeit, die verrinnt, nicht in realen Bildern, sondern in Farben, die ganz wunderbar Gefühle, Erinnerungen und Stimmungen auszudrücken vermögen. Die Farben wiederum materialisieren sich hier in Musik, die mit zarten und kraftvollen Stimmungen, brillanten und innigen Gefügen sowie freudevollen und nostalgischen Klängen ins Gedächtnis sickert.

Poser son regard sur la vie, c’est observer les couleurs du temps qui passe. Tantôt froides et mystérieuses, opalescentes, chaudes et lumineuses, les couleurs du temps, comme la vie, sont changeantes. Ignorant les frontières de l’ ge, préservant nos secrets, leur pouvoir réside dans le fait qu’elles suscitent des émotions, des sensations, des souvenirs ou des ambiances. La couleur se matérialise et devient musique. Oscillant entre climats fragiles et puissants, brillants et intimistes, joyeux et nostalgiques, Colors of Time se glisse dans notre mémoire comme autant d’histoires puisées dans la richesse du vécu de chacun.

Osservare la vita è come osservare i colori del tempo chepassa. A volte freddi e misteriosi, a volte opalescenti, caldi e luminosi, i colori del tempo, come la stessa vita, sono in perenne mutamento. Ignorando le frontiere dell’et , proteggendo i nostri segreti, il loro potere è nel fatto che essi suscitano emozioni, sensazioni e ricordi. Quando i colori si materializzano, nasce la musica. Colors of Time entra nella nostra memoria come tante storie create dal vissuto di ognuno di noi.

SKU: BT.DHP-1104865-010

9x12 inches. English-German-French-Dut ch.

Gazing into life is like gazing at the colours of passing time. Sometimes cool and mysterious, sometimes opalescent, warm or luminous, the colours of time, like life itself, are ever-changing. When colour materialises, it becomes music. With delicate and powerful moods, brilliant and intimate textures, and joyful and nostalgic sounds, music seeps into our memory like stories drawn from many individual real-life experiences.

Het leven beschouwen is alsof je naar de kleuren van de verglijdende tijd kijkt. Die zijn soms koel en mysterieus, soms ondoorzichtig als opaal, soms warm of licht: de kleuren van de tijd zijn altijd in beweging, net als het leven. Kleuren kun je ook weergeven in muziek. Met delicate of krachtige sfeerbeelden, glansrijke of intieme texturen, en vreugdevolle of nostalgische klanken glipt muziek ons geheugen binnen als verhalen die zijn gebaseerd op ervaringen uit het echte leven.

In diesem Werk portraitiert Thierry Deleruyelle das Leben und die Zeit, die verrinnt, nicht in realen Bildern, sondern in Farben, die ganz wunderbar Gefühle, Erinnerungen und Stimmungen auszudrücken vermögen. Die Farben wiederum materialisieren sich hier in Musik, die mit zarten und kraftvollen Stimmungen, brillanten und innigen Gefügen sowie freudevollen und nostalgischen Klängen ins Gedächtnis sickert.

Poser son regard sur la vie, c’est observer les couleurs du temps qui passe. Tantôt froides et mystérieuses, opalescentes, chaudes et lumineuses, les couleurs du temps, comme la vie, sont changeantes. Ignorant les frontières de l’ ge, préservant nos secrets, leur pouvoir réside dans le fait qu’elles suscitent des émotions, des sensations, des souvenirs ou des ambiances. La couleur se matérialise et devient musique. Oscillant entre climats fragiles et puissants, brillants et intimistes, joyeux et nostalgiques, Colors of Time se glisse dans notre mémoire comme autant d’histoires puisées dans la richesse du vécu de chacun.

Osservare la vita è come osservare i colori del tempo chepassa. A volte freddi e misteriosi, a volte opalescenti, caldi e luminosi, i colori del tempo, come la stessa vita, sono in perenne mutamento. Ignorando le frontiere dell’et , proteggendo i nostri segreti, il loro potere è nel fatto che essi suscitano emozioni, sensazioni e ricordi. Quando i colori si materializzano, nasce la musica. Colors of Time entra nella nostra memoria come tante storie create dal vissuto di ognuno di noi.

SKU: BT.PWM5447

''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka].